Baile Funk Records

it is also interesting to note that on this slab of vinyl does not credit any artists. FlaminHotz also is not paying the artists at all, nor has licensing.

yup.

I look at it more like expanding the awareness of the music genre per se. I also have taken a lot of heat already for this record and have set about correcting the mistakes I have made. When I first set out to do the record I had different goals and did not think everything through clearly. I have received a lot of feedback, mostly negative, and am going to correct the mistakes I have made with future releases of these Baile Funk artists where I pay them and credit them correctly. At this point in time it is the only way to offer up penance for what I have done. If you like the music and want these people to get money buy my first release so I can have enough to make a second record with them. That is the ultimate goal of the label, not to make money put to continue to put out records that are progressive and danceable.

So yes this is post is spam to buy my record but I thought that some people might want this release.

Please feel free to email me any other questions.

It seems like a double standard to me.

Is Diplo turning into the the whining artist that DJ Shadow turned into?

Should I go into your store and say "hey, someone is posting that you're an idiot on ILM"?

Oh the ironing.

http://launch.groups.yahoo.com/group/Miami_Bass_History/message/13533

Hey I'm djnazz and i'll clarify some points here:
I've been making the funky Parties since 1974
the rhythm was soul music on that time I'll give you some ex:
Lyn Collins -Thing,The Jb's,Average whithe band Pick up the Pieces,The meters people say,Clarence raid funk party,kc & the sunshine band etc...
After that Came rap's delight from sugar hill gang that song change the parties to rap and disco funk like kool and the gang Barkays One way,Shalamar,Debbie jacobs hot hot,Whisper, Earth wind and fire,sponie G spooning rap's,Whodini
Mr magic,Love bug starski you gotta believe,Spyder D , Kurts Blow just to tell some.
So after1982 come the planet rock,Deb Deb,Tyrone brunson,jive & the rhythm trax 122 bpm,Warp9,nunk,Little tony marsh- video burn out ,dr.jeckyl &mr hide the challenge etcrthis kind of music came over over here those songs change the parties but the name stay the same funky party,so we start to call This kind of music eletro funk or Funk eletronico in portuguese.
Now the parties are for 3000 to 5000 people in large places.
in 1984 we star to have some bass sound in our parties besides in 80 we have Raptivity that was very bass for me so the baile change again.
Now start to play more bass oriented music like Neucleus fresh mc's,Mcb,Conie ,Running information society,mc shyd Rap will never die,Mc Ade Bass mechanic,Mandingos,Gigolo tony smurphies rock,The megatrons,Trinere,Pretty tony etc..
In between 84 to 85 was born our taste for bass music.
So as you can see the things started before 1989.
On that time there wasn’t internet so to have the records we need to have people that work on the Air companies like Panan to bring us records or buy throuth the mail that was my case as a dj I ever import my records and ask friends to bring me some in theirs travels.
In 1986 I went to New York for the first Time and start to dig,discover and bring almost 90% of the records that came to Brazil between 86 to 98
Records Stores like Downtown records (Mr frank Ramos,Albert Marrero)Downstars Mr Nick,Rock and soul ,Music factory,vinylmania,just to tell some started to receive my visit every month.
After one year travelling to New york i started to went to Miami,los Angeles,San francisco ,Mr.eddie Fonseca from JDC records can testify these facts, And so the eletronic music scene in Brazil start to become stronger we saw a documentary called wild style and start to make scraths on the Parties,we have radios playing our music and in the midle of 89 a guy called Cidinho Cambalhota that was the A&R of polygram in Brasil and used to make performaces in the Parties(Baile funk) have a idea of to make That songs that we used to play on the parties with lirycs in portuguese but he was killed and the people of polygram put marlboro as the head of the project give him notoriety.
But he do not discover nothing or invent anything, he was in a right place on the right time.
This here is a brief resume if I’ll tell you all the history probaly we have to spend several pages or write a book.
But if someone have any question I can answer it
Just to finish:
The funk carioca is the miami bass song samplers edited by the dj’sçause they do not have acess to tecnology on that time .so we use samplerrs loops grom songs like Ring my phone by shantell & dwayne,Ice t hassam,Dj battery brain and so one.
I can tell you the real history of each records tha came over here I was there.
Besides I’m not on the midia this is the true history .
Funk carioca as we Know was Born in the grandmaster studio when I Djnazz,Dj Amazing Clay,Map style,and Grandmaster raphael start to producer people from the favelas rhyming ovrer the beats and talking about their realities this other guy do not play our music and now he say i’m the guy I invented it that’s ridiculus.
That;s why the name funk carioca because when people from São Paulo other big city in Brasil listened that kind of rap used to say :it’s the cariocas funk.
The first rap with lirycs in portuguese was in 1979 and was ca vesion of rapper’s delight from sugarhill gang.

Rap brasileiro
Muito se diz sobre qual foi o primeiro rap feito no Brasil. Gerson King Combo, já em 1977, fazia um soul com falas que lembrava muito o rap, mas não podemos considerá-lo um rap na essência do termo. O showman Miele gravou em 1979, uma versão de "Rapper`s Delight" do Sugarhilll Gang chamada "Melô do Tagarela". A rádio Cidade FM (Atual Sucesso FM) de São Paulo gravou em 1981, um compacto também com uma versão da mesma música chamada "Tema de Natal da Cidade" que era um belíssimo rap, com a voz de seus locutores (naquele tempo locutor de rádio tinha que ter boa voz
That’s it for a while
Carlos Machado Aka djnazz
national kid is a page of a friend that talk about me,,,,,,,,,,,,,

http://www.myspace.com/djnazz

http://www.mcgringo-rio.blogspot.com/

free speech, a document of the times and/or glorification of violence

7th of March 08 posting re Sublime Frequencies cd--

Under the title 'Proibidão C.V.: Forbidden Gang Funk from Rio de Janeiro' the label Sublime/Seattle released forbidden Funk-Tracks from Rio. Lyrics who are glorifying violence -
A label from the U.S.A.has released a record, who is glorifying violence in the city where I live ... what should I say?
Every day in Rio there are dying people in reason of a senseless war. Everybody in Rio de Janeiro is affected of this war. We know, we are living in the most beautiful city of the world - nevertheless we can not always join our life in a relaxed way, especially not, if we are living in a favela.
Sublime made the record 'to portray a moment in time in Rio de Janeiro musical and social history' ... thanx sublime - very important work!
I have another idea for your company. On the market Uruguiana in Rio de Janeiro you can buy DVD´s with gunshots in various favelas in Rio de Janeiro, filmed by the police. There is a lot of great blood and crazy violence on this DVD. Why you don´t copy this DVD´s and release them 'to portray another moment in time in Rio de Janeiro'.
Believe me, they will still get a lot of trouble with this compalation ... with topics like this the Brasilian government is not joking ...

Funk Carioca ... classic or DUD

wow, we need to get this brazilian genius to the US, quickly, so he can work out our gangster rap problem for us

i wonder what that guys thinks of SF releasing cambodian folk music from the 70s; those people killed 2 million (out of 7 million) of their own people in 4 years.

That comparison might not work very well depending on how directly the content of the baile funk songs was related to the gang wars going on. (I'd be willing to bet the Cambodian pop wasn't celebrating mass murder.)

But I don't agree with you in general about this stuff. Not that I really think there's much to be done about it. Censorship or even just some sort of compaign against anti-social musical expression isn't going to be very effective. Better to vote with one's dollars, feet, etc.

The Cambodian folk music was made by people killed by the Khmer Rouge or people who fled the Khmer Rouge, this is music that was financed by and apparently pays tribute to a criminal organization that flourished in Rio's favelas in 2003. I don't advocate banning such music, but that doesn't mean I want to romaticize it either. Many Sublime Frequencies releases are notorious for never giving proper credit (or payment) to the artists on the cds, I wonder how they're handling this one.

romanticize

thought this would be a passantino 'snakes on a plane' revive :(

cambodian folk music was made by people killed by the khmer rouge? how do they know?

seeing as the khmer rouge were all about purging western influence and getting rid of the vietnamese, i sort of doubt they'd be executing people for playing agrarian folk music. unless those people had glasses.

this is music that was financed by and apparently pays tribute to a criminal organization that flourished in Rio's favelas in 2003

so how do you feel about listening to wagner?

and anyway i'm sure you guys realize that the vast majority of antisocial behavior occurs w/o the aid of loud rhythmic music made by poor minorities

Censorship or even just some sort of compaign against anti-social musical expression isn't going to be very effective

so you'd be cool w/ censorship if it led to a decrease in "anti-social behavior"?!??!??!?

so how do you feel about listening to wagner? -Vahid

I already said that I don't advocate censorship.

As for the Khmer Rouge--Cambodian musicians quickly became subjected to the world’s most extreme form of music censorship — genocide. Not only was music itself banned, but it is widely estimated that ninety percent of Cambodia’s musicians and performers were killed during Pol Pot’s rule. By 1979, it became clear that the rich cultural history of Cambodia was all but erased.

The arts after Pol Pot

After Vietnam invaded Cambodia (taking Pol Pot out of power) some musicians returned to the capital city of Phnom Penh and immediately put out a call for all artists to return. Asia Source reports, “Cambodia's remaining dancers and musicians responded. In 1980, professional artists reunited for the first time in emotional performances that were at once an agonizing recognition of the loss of life — so many were killed or missing — and a reaffirmation of identity.” Ever since, Cambodia and its artists have been striving to recover, in whatever way they can.

http://www.freemuse.org/sw11052.asp

ha ha excellent! we should do that to "anti-social musicians" making baile funk.

You misinterpreted RS, you got your facts wrong about Cambodia, you misstated my views on censorship, and ah never mind... We've sidetracked this thread enough...

Meanwhile, for other views of Brazil's funk carioca scene I sometime look at
this grad student's blog--http://beatdiaspora.blogspot.com/